In the UK, close to half of 25-year-olds now live with parents who, in many cases, would expect their nest to have long since emptied. How does this change families, for good and bad?

If life had worked out differently, Serena would by now be coming to terms with an empty nest. Having brought up seven children, she and her husband might even have been enjoying a little more money and time for themselves. But as it is, three of their adult children are now at home: the 23-year-old finishing his degree; the 28-year-old, a teacher, saving for a house deposit; and the 34-year-old, after a mental health crisis. At 63, Serena comes home from her job as a social worker to a mountain of laundry, and a spare downstairs room requisitioned as a bedroom.

Having a houseful is “really good fun”, she says, and makes life richer and more interesting. But it took a while to get used to partners staying over – “I’m not a prude, but you don’t necessarily want to be part of that life for your children, do you?” – and lately, she has felt the lack of an important rite of passage. “I’ve become old and I never really felt it, because I’ve been in that parent mode for such a long time,” she says. “It’s suddenly hit me that I didn’t have that transition that often happens, with kids who leave when you’re in your 40s and 50s – that just hasn’t happened. It’s odd.”

Arda Güler, Nick Woltemade and Rafael Leão are among the first 30 players as we start our countdown to the list, updating through the week

• Our methodology | The top 100 female players for 2025

• 2024 edition | 2023 | 2022 | 2021 | 2020 | 2019 | 2018 | 2017 | 2016 | 2015 | 2014 | 2013 | 2012

The Timothée Chalamet-starring comedy about a hustling table tennis ace has been voted one of the Guardian’s films of the year. Its writer/director talks ambition, American dreams and alien takeovers

• Why Marty Supreme is the No 5 film in the UK and No 4 in the US

Josh Safdie, 41, is best known for the films he has made with his brother, Benny – frenetic chancer yarns such as Uncut Gems, Good Time and Heaven Knows What.

Last year, the brothers split and shot separate movies loosely based on real life sportsmen. Benny made wrestling drama The Smashing Machine, starring The Rock; Josh a loose take on the life of Marty Reisman, a shoe-store clerk in 1950s New York, who aspires to table tennis pre-eminence but must hustle to fund his passage to championships in London and Tokyo.

In his 46 years of service, Nick Hulme has seen the best and the worst of the NHS. He issues a stark warning about its future

I catch him before he slips out of the NHS ahead of Christmas. After 46 years in the health service, no better time for an exit interview with a leading NHS trust chief executive, who has seen the best and worst of it. Nick Hulme is in brutal truth mode. He has one foot out of the door of his East Suffolk and North Essex NHS foundation trust, just as the resident doctors strike for the 15th time, amid a rampant flu crisis. But he’s off, his time is up.

“I can’t remember a time when the NHS was at such risk,” he says. Labour has put in more money and staff, productivity and activity has risen a bit, waiting times down a bit, yet waiting lists stay stubbornly high. “That’s dangerous ammunition for Nigel Farage and the Conservatives,” says Hulme, “a narrative for people who want to kill the NHS.”

Companies such as Udio, Suno and Klay will let you use AI to make new music based on existing artists’ work. It could mean more royalties – but many are worried

This was the year that AI-generated music went from jokey curiosity to mainstream force. Velvet Sundown, a wholly AI act, generated millions of streams; AI-created tracks topped Spotify’s viral chart and one of the US Billboard country charts; AI “artist” Xania Monet “signed” a record deal. BBC Introducing is usually a platform for flesh-and-blood artists trying to make it big, but an AI-generated song by Papi Lamour was recently played on the West Midlands show. And jumping up the UK Top 20 this month is I Run, a track by dance act Haven, who have been accused of using AI to imitate British vocalist Jorja Smith (Haven claim they simply asked the AI for “soulful vocal samples”, and did not respond to an earlier request to comment).

The worry is that AI will eventually absorb all creative works in history and spew out endless slop that will replace human-made art and drive artists into penury. Those worries are being deepened by how the major labels, once fearful of the technology, are now embracing it – and heralding a future in which ordinary listeners have a hand in co-creating music with their favourite musicians.

Lucile Hadžihalilović’s kaleidoscopic fable, starring Marion Cotillard as a haughty, damaged diva, is a cautionary tale about the perils of fantasy

• The best films of 2025 in the UK
• More on the best culture of 2025

Lucile Hadžihalilović is a good bet for the most underrated director on the planet. She’s only made four features in 20 years, but with obsessive consistency each time: an exquisitely controlled hermetic world that exudes weird biological and psychological anxieties – from the pre-pubescent prep school of 2004’s Innocence, to the island hospital nurturing impregnated boys in 2015’s Evolution. These microcosms, governed by their own internal laws, seem to exist in some far-off arthouse realm indifferent to regular cinema.

But her new film, The Ice Tower, makes the coyest of glances towards commercial territory by rooting itself in Hans Christian Andersen. “Vast, immense, glittering like ice was the realm of the Snow Queen,” lullabies Marion Cotillard in the preamble; the story is the preferred bedtime reading of teenage orphan Jeanne (Clara Pacini), who escapes from her foster home, heads down the mountain, and stows away on a film production of the fairytale. The queen is being played by imperious diva Cristina van der Berg (who is played for us by none other than la Cotillard).

Paul Doyle’s previous assault convictions listed at sentencing hearing together with victim statements

As a reminder, on Monday, prosecutors said in the space of two minutes, Doyle’s Ford Galaxy – which weighed nearly two tonnes – collided with “well over 100 people” and he was “prepared to cause those in the crowd, even children, serious harm if necessary to achieve his aim of getting through”.

Doyle admitted to dangerous driving, affray, 17 charges of attempting to cause grievous bodily harm (GBH) with intent, nine counts of causing GBH with intent and three counts of wounding with intent last month.

President claims broadcaster ‘intentionally, maliciously and deceptively’ edited 6 January speech before Capitol attack

The BBC has vowed to defend itself against the $10bn lawsuit that the US president, Donald Trump filed against it.

In a complaint filed on Monday evening, Trump sought $5bn in damages each on two counts, alleging that the BBC defamed him, and that it violated Florida’s Deceptive and Unfair Trade Practices Act.

Mayoral candidate Chris Parry had previously said the deputy prime minister should ‘go home’ to the Caribbean

Lisa Nandy, the culture secretary, has published a green paper on BBC charter renewal. It includes a consultation on options for the future.

On funding, the document says the government has an “open mind” on how the licence fee system may be reformed to stop fewer households paying every year. It suggests there might be a new type of licence fee for people who say they don’t watch BBC TV, but who do use the BBC’s website, or BBC Sounds.

In addition to BBC saving and efficiency programmes, we also want to explore wider reforms that could help address the funding challenges the BBC faces. We have not ruled out keeping the current licence fee in place with its current structure. However, given the sustainability challenges it is facing, we are also reviewing the scope of services for which the licence fee is required and considering differential rates for specific types of users, to make it more sustainable for the long-term, along with increasing commercial revenue to ease the burden on the public. This would aim to reverse the trend of fewer households paying every year and declining overall income, which risks the BBC declining if it is not addressed. Any reform of the licence fee must be proportionate and reflect the cost-of-living burden on the public.

As the licence fee is a tried and tested public funding model, we are not considering replacing it with alternative forms of public funding, such as a new tax on households, funding through general taxation, or introducing a levy on the revenues of streaming services to fund the BBC …

My aims for the charter review are clear. The BBC must remain fiercely independent, accountable and be able to command public trust. It must reflect the whole of the UK, remain an engine for economic growth and be funded in a way that is sustainable and fair for audiences.

Dashcam footage shows the moment Boris Gurman tackles shooter Sajid Akram and wrestles a gun from him

• Full report: Bondi terror attack

• Victims of Bondi beach shooting

• What we know so far about the Bondi terror attack

Dramatic footage has emerged of two victims who were killed while trying to stop a gunman during the early stages of the Bondi beach terror attack on Sunday.

The couple have been identified as Boris Gurman, 69, and Sofia Gurman, 61, after their family gave a statement to the Sydney Morning Herald.